Title: The Wizard of Oz Presented By: Villanova Players Genre: Musical Theatre Synopsis: The timeless tale in which young Dorothy Gale travels from Kansas, over the rainbow, to the magical Land of Oz. This production uses the RSC version, which stays faithful to the classic film while being adapted for the stage. Characters such as Glinda, Scarecrow, Tinman, Lion, Wizard, and the Emerald City Guard also have Kansas counterparts, and the show features expanded chorus roles with singing and speaking parts. Audition Dates: April 9th - 10th, 2026 EXTENDED 7th - 9th May, 2026 Audition Time: 11AM - 10PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, QLD Audition Self-Tape Due (if applicable): April 10th, 2026 Audition Requirements: Please prepare 2 contrasting songs of about 30 seconds each. At the audition, you will be asked to do a cold read and will be taught choreography that you will have to present during the session. Please bring chorus/dance shoes if you have them. Audition Registration: Complete Expression of Interest form and Book an Audition Time. Video auditions can be submitted to jacquelinekerr28@gmail.com. Audition Pack: The Wizard of Oz Audition Pack Performance Dates: November 20th - 22nd, 2026 (Possible performances November 25th & 26th). Performance Times: Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 2PM Performance Location: Ron Hurley Theatre, Seven Hills, QLD Rehearsal Dates: September 2nd - November 19th, 2026 Rehearsal Times: Monday & Wednesday, 7PM - 9:30PM Saturday September 5th, 1PM - 5PM Saturday September 12th, 1PM - 5PM Sundays (from September 20th), 10AM - 4PM Rehearsal Location: Ron Hurley Theatre, Seven Hills, QLD Performer Age: Adults and children (children will be double cast) Creative Team: Director - Jacqueline Kerr Production Website: Villanova Players - The Wizard of Oz Other information: Dorothy Gale has already been cast. Contact Jacqueline Kerr via email for further information. Available Roles/Character Breakdown: Glinda / Aunty Em (Female, 40–50s): Must sustain high soprano Scarecrow / Hunk (Male, 20–40s): Tenor Tinman / Hickory (Male, 20–40s): Tenor Lion / Zeke (Male, 20–40s): Tenor Wizard / Travelling Salesman (Male, 20–40s): Non-singing role Emerald City Guard / Uncle Henry (Male, 40–50s): Tenor Wicked Witch / Miss Gulch (Female, any age): Non-singing role Chorus: Adults (14 total): Dancers with skills in ballet, soft shoe, tap, or jazz. Singing and acting ability advantageous. Children (20 total, 10 per show – double cast): Roles include Munchkins, poppies, and monkeys. Must be able to sing and perform basic movement.

Title: Big Fish Presented By: Spotlight Theatrical Company Genre: Musical Theatre Synopsis: Big Fish follows Edward Bloom, a travelling salesman known for his larger-than-life stories. As his life nears its end, his son Will seeks to uncover the truth behind these incredible tales and understand the man his father really is. The musical blends fantasy and reality in a heartfelt story about family, love, and storytelling. Audition Date: Sunday April 12th, 2026 Audition Time: From 10AM Audition Location and Address: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Audition Requirements: Dance Call - Auditionees do not need to prepare anything in advance. Please wear clothing suitable for movement and appropriate footwear. Bring a water bottle and arrive stretched and warmed up. Vocal Auditions - Prepare two contrasting songs (approximately 90 seconds each) that best showcase vocal, acting, and character ability. The panel may not hear both pieces. Please bring backing tracks on a device that can connect via Bluetooth speaker. Callbacks - Callbacks will be held on Monday 13 April 2026. Selected auditionees will be provided with material from the show to prepare. Successful performers will be contacted within a few days following callbacks. Audition Registration: Complete the Audition Form HERE. Audition Pack: Big Fish Audition Pack Performance Dates: July 30th - August 15th, 2026 Performance Location: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Rehearsal Dates: Starting Sunday April 19th Rehearsal Times: Mondays & Thursdays - 7 - 10PM Sundays - 10AM - 6PM Rehearsal Location: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Warnings: Themes surrounding illness, death, and complex family relationships Performer Age: Typically 16+ (varies by role) Production Website: Spotlight Theatrical Company - Big Fish Other information: Spotlight is a community theatre company producing large-scale musical productions with opportunities for performers, creatives, and volunteers. Available Roles/Character Breakdown: Edward Bloom (Male, 25–55): A charming, charismatic storyteller nearing the end of his life and seeking to reconnect with his son. Loving husband and father with a passion for storytelling. Young Edward is optimistic, energetic, and romantic; must captivate the audience and sell his larger-than-life tales. Strong actor with a big voice and movement ability; capable of leading musical numbers. Role spans ages 18–60 and may be split between two actors.Vocal Range: Bari-Tenor (G2–G4)Songs: Be the Hero, Fight the Dragons, Showdown, Start Over, How It Ends, Out There on the Road, Time Stops, Closer to Her, Daffodils, Red White and True Sandra (Female, 25–55): Patient, calm, and the grounding force to Edward’s enthusiasm. Deeply devoted to both her husband and son, she strives to bring them together. Young Sandra is sweet, hopeful, and romantic. Requires strong vocals, expressive acting, and solid dance ability. Role spans ages 18–60 and may be split between two actors.Vocal Range: Soprano (G3–E5, mix/belt)Songs: Alabama Lambs, Time Stops, Daffodils, Red White and True, Two Men in My Life, I Don’t Need a Roof Will Bloom (Male, 20–30): Earnest, serious, and thoughtful. Struggles to reconcile his father’s fantastical stories with reality. A successful professional and new husband, he must guide the emotional journey toward understanding and acceptance. Strong tenor voice required; no dance; strong acting focus.Vocal Range: Tenor (C#3–G4)Songs: Strangers, Strangers Reprise, Showdown, What’s Next, Be the Hero (Reprise) Young Will (Male, 10–12): Curious and increasingly skeptical of his father’s stories. Participates in storytelling scenes. Primarily an acting role with a small singing moment in Fight the Dragons. Josephine (Female, 20–30): Will’s wife. Intelligent, grounded, and compassionate. Acts as a bridge between Will and Edward, helping interpret the meaning behind the stories. Non-singing, non-dancing role requiring strong acting. Karl the Giant (Male, any age): Edward’s gentle, intelligent best friend. Shy with a quiet charisma but a commanding presence. Requires a strong bass voice and physical presence; must be comfortable performing on stilts.Vocal Range: Bass (A2–D4)Songs: On the Road, Start Over Amos Calloway (Male, 30–50): Eccentric and flamboyant circus owner (and werewolf in Edward’s tales). Requires strong character acting and comedic ability. Singing role with emphasis on personality over vocal power.Vocal Range: Baritone (C3–F5, touches G5)Songs: Closer to Her, Start Over The Witch (Female, any age): Commanding, confident storyteller who inspires Edward to live boldly. Strong belt required with some movement ability.Vocal Range: Mezzo (F3–F5)Songs: I Know What You Want Ensemble / Featured Ensemble (12 performers): All ensemble members sing and move; some will have more advanced dance requirements. Featured ensemble roles are drawn from this group. Jenny Hill (Female, 25–55): Edward’s first love; a dreamer in youth, later disillusioned but dignified. Plays a key role in helping Will understand Edward. Strong belt preferred with some movement. May be split between two actors.Vocal Range: Mix/Belt to E5Songs: Ashton’s Favorite Son, Out There on the Road Don Price (Male, 20–45): Snarky bully and Sandra’s former fiancé; later becomes mayor. Larger-than-life character with strong acting presence.Vocal Range: Baritone (C3–F#4)Songs: Out There on the Road, Start Over Zacky Price (Male, 20–45): Don’s awkward, nerdy brother. Character role requiring strong acting. Doctor Bennett (Male, 30+): Kind, warm, and honest physician. Straight acting role; no singing or dancing required. Red Fang (Male, 18–28): War villain. Requires physicality for fight scenes and movement. Ashton Mayor (Male, 30+): Classic small-town mayor; friendly and approachable character. Alabama Lambs (Female, 18+): Two performers who act as Sandra’s friends at the circus. Strong singing and dance ability required. Fisherman (Any, 18+): Comedic hometown character. Strong singing and movement skills preferred.

Title: Hot Tub Presented By: Ad Astra Theatre Company Genre: Dark Comedy / Satire / Contemporary Theatre Synopsis: Winner of the Patrick White Playwrights Award, Hot Tub is a tragicomic fever dream set on the Gold Coast during Schoolies Week. Dido, a teenager from North Queensland, arrives at her estranged family’s crumbling beachside tower seeking money for weight-loss surgery. When refused, she teams up with her scheming stepbrother to raise funds online. Meanwhile, the family matriarch faces a criminal investigation but refuses to sell the building. The play is a satirical takedown of Australia’s upper crust, packed with absurdity, secrets, and camp theatricality. Audition Dates: April 5th - 6th, 2026 Audition Time: TBC (scheduled upon application) Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Audition Requirements: Short scenes will be provided prior to audition. Actors will workshop material in the room with the director Audition Registration: Email creatives@adastracreativity.com with current CV (Word or Google Doc only) and a recent headshot. Specify the role(s) you are auditioning for. Audition Pack: Scenes provided upon securing an audition time Performance Dates: August 6th - 29th, 2026 Performance Times: Thursdays and Fridays - 8PM Saturdays 2PM & 7:30PM Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Rehearsal Dates: Weekly from May through August Rehearsal Times: TBC (two weekday/night rehearsals and one weekend rehearsal per week) Rehearsal Location: Brisbane (Ad Astra venues) Warnings: Adult themes, strong language, satirical and camp content Creative Team: Writer - Lewis Treston Director - Daniel Lammin Production Website: Ad Astra Theatre Other information: This is a co-op production; cast receive a share of ticket sales after expenses Seeking performers with strong comic timing, work ethic, and willingness to embrace camp and absurdity Available Roles/Character Breakdown: Dido Hunter – Female, 17. Recently graduated from a North Queensland high school; estranged daughter of Murray. Murray Hunter – Male, 50–55. Gambler; married into the White family. Eunice White – Female, 70s. Family matriarch; mother of Jade. Jade Hunter-White – Female, 35–45. Mystic; mother of Reese. Reese White – Male, 17. “Demon twink”; recent high school graduate; son of Jade. Macka – Male, 30–35. Double agent. Officer Sheryl – Female, 30–40. Chaotic free agent. Stinger – Male, 30–35. Bikie lord (non-suspect). Note: Macka and Stinger will be played by the same actor.

Title: Mamma Mia! The Musical Presented By: The Star Gold Coast, The Very Popular Theatre Company Genre: Jukebox Musical Synopsis: Set on a Greek island, Mamma Mia! follows Sophie, a young woman about to be married, who secretly invites three men from her mother Donna’s past in hopes of discovering which is her father. Told through the music of ABBA, the story celebrates love, friendship, and identity. Audition Date: March 30th, 2026 Audition Self-Tape Due: Submissions close 11:59PM, March 30th, 2026 Audition Requirements: First round auditions will be by video submission and should include the following in one video: Slate & Introduction (Max 1 min) - Please state your name and which role(s) you would like to be considered for Audition Song - Perform a song of your choice in the style of the show (do not perform a song from the show) Audition Registration: Submit your video audition via the link HERE. Submissions should include: Self Tape (unlisted YouTube or Vimeo link ONLY; videos that require downloading will not be considered, ensure your link is working before submitting) Headshot (JPEG or PNG with performer’s name as file name) Resume/CV (PDF format with performer’s name as file name) Audition Pack: Mamma Mia! Audition Pack Performance Dates: September 4th - 20th, 2026 Performance Times: Tuesday to Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 1PM & 6PM Performance Location: The Star Theatre, 1 Casino Dr, Broadbeach QLD 4218 Rehearsal Dates: August 18th - September 4th, 2026 Rehearsal Times: Principal Cast - Tuesday to Friday 1PM - 9PM & Weekends 10AM - 6PM Ensemble Cast - Tuesday to Friday 6PM - 9PM & Weekends 10AM - 6PM Rehearsal Location: Gold Coast Production Website: The Star Gold Coast - Mamma Mia! Other Information: Principal artists will be engaged under a weekly fee of $1,350 Amateur Ensemble artists will receive an honorarium of AUD $2,000 Available Roles/Character Breakdown: The roles of Donna and Bill have been cast Sophie Sheridan – Female – Pop Soprano/Mezzo (F#3–E5) Female, Caucasian, 18–20. A very special young woman determined to find the romance and happiness she feels eluded her mother. Has a wild, zany spirit despite pursuing a conventional marriage. Strong pop belt with upper mix. Harry Bright – Male – High Baritone/Tenor (C#3–F#4) Male, Caucasian, 40–45. May be Sophie’s father. A British financier—wealthy, buttoned-up, and conservative, but trying to reconnect with his freer, youthful self. Actor who sings. Baritenor. Strong English accent. Tanya – Female – Mezzo-Soprano (E3–E5) Female, any ethnicity, late 30s to mid 40s. A former singer in the Dynamos. Rich, sophisticated, acerbic, funny, and witty. Actor who sings. Mezzo belt. Rosie – Female – Alto/Mezzo (E3–D5) Female, any ethnicity, late 30s to mid 40s. A former Dynamo who now runs a feminist press. Confident and funny on the outside but shy underneath. Kooky, playful, and a strong comic actress. Actor who sings. Sam Carmichael – Male – High Baritone (D3–Ab4) Male, Caucasian, 40–45. May be Sophie’s father. A charming, successful architect who left Donna years ago due to another engagement. Actor who sings. Bari/tenor. Sky – Male – Tenor/High Baritone (Eb3–D5) Male, any ethnicity, mid to late 20s. Sophie’s fiancé. Athletic and very attractive. Has given up his business life to help rebuild Donna’s taverna and marry Sophie. Strong singer. Ali – Female – Mezzo-Soprano (G3–D5) One of Sophie’s best friends and a bridesmaid. Impulsive, bubbly, and fiercely loyal. Forms a tight vocal trio with Sophie and Lisa. Strong mover/dancer required. Lisa – Female – Mezzo-Soprano (G3–Db5) Sophie’s other best friend and bridesmaid. Vibrant, fun-loving, and excited for the wedding. Provides strong vocal harmonies. Strong mover/dancer required. Pepper – Male – Baritone/Tenor (A2–F5) A bartender at the taverna and one of Sky’s friends. High-energy, cheeky, and confident—famously makes a bold move on Tanya. Excellent dance skills required; acrobatics a plus. Eddie – Male – Baritone/Tenor (A2–E5) Helps run the taverna and is one of Sky’s mates. Laid-back, good-natured, and comedic. Often distracted but eager to help. Strong movement skills required. Amateur Ensemble – Female/Male Any ethnicity. Excellent singers with strong pop/rock voices and very good dance ability. Acrobatics and partnering skills are a plus. Seeking dynamic and diverse performers across all voice types (Altos, Mezzos, Sopranos, Basses, Baritones, Tenors). Some ensemble members may cover principal roles.

Your Song The Little Red Company Venue:  Brisbane Powerhouse Director:  Naomi Price Cast:  Jason Arrow, Luke Kennedy, Irena Lysiuk, John O’Hara Band:  Mik Easterman (drums), OJ Newcomb (bass), Damian Sim (keys), Stephen Ward (guitar) I was barely in my seat before I was already smiling. Enormous shiny baubles hung around the stage, coloured lights danced across the space, and a live band sat ready to launch into a night of concert, cabaret, and storytelling. And just to be clear, as they cheekily warn us early on, this is not an Elton John tribute show. “To avoid a lawsuit, none of us are playing Elton John.” What it is, though, is something far more interesting. Instead of impersonation, Your Song  is built around real stories submitted by the public. Weddings, funerals, births, heartbreaks, identity journeys, chaotic life events… all tied together by the music of Elton. The cast bring these stories to life with short monologues and musical numbers, creating a patchwork of human experience that is deeply personal yet universal. It also invites you to reflect on your own relationship with his music. I certainly found myself doing exactly that, thinking back to my first exposure through The Lion King  (when I was still in the womb, technically), The Road to El Dorado , and the inevitable family vinyl collection. You’re not just watching a show, you’re remembering alongside it. The quartet of Jason Arrow, Luke Kennedy, Irena Lysiuk, and John O’Hara are, quite frankly, annoyingly and ridiculously talented. The vocals are pristine across the board, with fresh harmonies when the arrangements take unexpected turns. Jason Arrow’s I Guess That’s Why They Call It the Blues  leans into smooth, almost boyband-style harmonies (think Westlife meets Human Nature), while Luke Kennedy’s Rocket Man showcases a falsetto so clean, performed alongside Jason on guitar, Irena Lysiuk is a standout in both presence and versatility. Her ukulele version of Your Song is gentle and sweetly funny (“you can tell everybody this is your song… or not”). She also brings emotional weight to Sorry Seems to Be the Hardest Word  and, frankly, looks incredible doing all of it in that neon orange jumpsuit. John O’Hara rounds out the group with engaging storytelling and strong musicality. His Crocodile Rock  taps into a daggy Aussie dad energy that gets easy laughs, while Goodbye Yellow Brick Road , is stripped back to a raw, belted piano moment that feels like a private emotional release by John. One of the show’s greatest strengths is its willingness to play with the material. You won’t hear these songs the way you expect, and that’s very much the point. Don’t Go Breaking My Heart  becomes a road trip-ready country number with acoustic guitar and double bass, prompting the audience to bop along whether they mean to or not. The band, a tight four-piece, handles these stylistic shifts with ease. Piano features heavily (as it should), and the arrangements are consistently thoughtful rather than gimmicky. Candle in the Wind , joined by the Little Red Choir, is genuinely haunting, particularly as it connects to stories of Princess Diana. It’s one of those moments where the room noticeably stills. The emotional range of the storytelling is where Your Song  really finds its heart. Some stories are touching, particularly those centred on queer identity and self-discovery, reflecting the impact of Elton John’s unapologetic presence in both the industry and the world. Then there are the totally wild stories, like a roller-skating wedding set to Tiny Dancer  involving a groom named Tony. And then there’s the divorce party set to I’m Still Standing , which is just pure catharsis and it might have been my favourite moment of the night. I would love if the audience was encouraged to stand up for that number, because it totally deserves it. When the finale megamix arrives, showcasing iconic colored sunglasses, feathered shoulders, and a full-company dance party with songs like Can You Feel the Love Tonight , Pinball Wizard , That’s What Friends Are For , and more, it's nearly impossible not to be swept up in the excitement. What makes this show land is its sense of connection. It’s polished, yes. The vocals are exceptional, the band is tight, the design is colourful and engaging. But it never feels distant or overly slick. There’s a genuine sense that the performers are sharing something with you, not just presenting it. It celebrates not just Elton John’s catalogue, but the way songs weave themselves into our lives, marking moments big and small. It’s heartfelt without being heavy, funny without undercutting its sincerity, and inventive without losing sight of what makes these songs so beloved in the first place. And if you don’t like the arrangements? Well… you can always go home and put your Elton album on. But I’d recommend staying for this instead.

Title: Charlie and the Chocolate Factory Jr. Presented By: Beenleigh Theatre Group Genre: Family / Musical Theatre Synopsis: The world-famous chocolatier Willy Wonka opens his mysterious factory to five lucky golden ticket winners. Charlie Bucket and the other children embark on a magical journey through a world of pure imagination, encountering Oompa-Loompas, chocolate inventions, and life-changing lessons along the way. Audition Date: April 18th - 19th, 2026 Audition Time: 3PM - 7PM Saturday 10AM - 4PM Sunday Audition Location and Address: Crete Street Theatre, Cnr Crete & Kent St, Beenleigh QLD 4207 Audition Requirements: Prepare 60-90 seconds of a song (musical theatre style, age-appropriate) Please bring your backing track on a device with aux plug or USB Prepare a side relevant to your preferred character (sides available HERE) Be prepared for movement/dance components Audition Registration: Book your audition slot HERE Audition Pack: Charlie and the Chocolate Factory Audition Pack Performance Dates: July 10th - 12th, 2026 Performance Times: July 10th - 12PM July 11th - 12PM, 3PM & 7:30PM July 12th - 12PM Performance Location: Crete Street Theatre, Cnr Crete & Kent St, Beenleigh QLD 4207 Rehearsal Dates: Intensive Weekend - May 23rd - 24th, 2026 Intensive Week 1 - June 29th – July 3rd, 2026 Intensive Week 2 - July 6th - 10th, 2026 Rehearsal Times: Intensive Weeks - 9AM – 4:30PM Supervision provided - 8:30AM – 5PM Performance Location: Crete Street Theatre, Cnr Crete & Kent St, Beenleigh QLD 4207 Warnings: Mild themes suitable for family audiences Performer Age: 8 - 18 years Creative Team: Director - Tianna Paget Vocal Director - Lauren Bull Choreographer - Holly Leeson Production Website: Beenleigh Theatre Group - Charlie and the Chocolate Factory Available Roles / Character Breakdown: Willy Wonka Willy Wonka is a mysterious and playful figure. He leads the most famous chocolate factory in the world and is ready to pass the candy-making baton on to someone else. He is a bit odd and definitely quirky, but wants the best for his factory and believes in the power of chocolate. Charlie Bucket Charlie Bucket is a good kid from a poor family who loves, loves, loves Wonka candy. His excitement gives Willy the idea to stage the contest. Charlie is wide-eyed and open-hearted, with a positive attitude despite his humble circumstances. Grandpa Joe Grandpa Joe dreams big – after all, Charlie had to get it from somewhere. He admires Willy Wonka and teaches Charlie that Wonka is the best chocolatier in the world. Mrs Green Mrs. Green is a carnival-barker-style vegetable salesperson who trades her cart of “pre-owned vegetables” for Wonka candy once the town goes candy-crazy. Mrs Bucket Mrs. Bucket takes care of the whole family. She’s supportive of Charlie’s studies, and although she doesn’t see a future for him as a candy inventor, she believes in him and wants the best for him. Josephine Josephine is one of Charlie’s grandparents. She is the whimsical one. Georgina Georgina is one of Charlie’s grandparents. George George is one of Charlie’s grandparents. He is the grumpiest of them all. Jerry Jubilee Jerry Jubilee is a news anchor who is covering the golden ticket story closely. Cherry Sundae Cherry Sundae is a news anchor on the same team as Jerry Jubilee. Just like Jerry, Cherry is on the spot with the golden ticket news as soon as she can be. Mrs. Gloop Mrs. Gloop, like Augustus, takes food very seriously. In her eyes, her son can do no wrong, although to the rest of the world his manners leave something to be desired. Augustus Gloop Augustus Gloop is the regional bratwurst-eating champion. Augustus and his mother, Mrs. Gloop, are always on the lookout for their next culinary experience. Mr Salt Mr. Salt is Veruca’s father. He’s a wealthy businessman who is used to buying his way through life and will give Veruca anything she wants so long as she’s not throwing a fit. Veruca Salt Veruca Salt is spoiled as can be. She is used to getting her own way and is not afraid to get loud when she doesn’t. Mr Beauregarde Mr. Beauregarde is Violet’s father. He cares about her gum-chewing career just as much as she does. Violet Beauregarde Violet Beauregarde has created a brand around chewing gum, and she’s not going to be stopped. Mike Teavee Mike Teavee is screen-obsessed. He’s constantly connected, whether it’s internet, television, or capturing his own content, and his manners aren’t great as a result. Mrs Teavee Mrs. Teavee loves her son Mike very much – so much that she pretty much lets him do whatever he wants. Ensemble The ensemble is the life of the show. These members will have multiple roles such as squirrels, reporters, crowd members and Oompa Loompas, so we are looking for big energy and great character work.

Title: Drowning Ophelia Presented By: Centenary Theatre Group Genre: Dark Comedy Synopsis: Jane doesn’t know what to do with the literary character who has taken up residence in her bathtub. Ophelia delights in singing songs about death and valentines, interrupting Jane’s carefully planned fantasy dates with an actor named Edmund, and bringing up memories of a brother Jane would rather forget. As Jane’s past intrudes dangerously on her present, it becomes clear that Ophelia is not simply a character from Hamlet, but a long-forgotten messenger with a question from Jane’s own troubled mind: How do you move on when reconciliation is not an option? A dark comedy from new writer Rachel Strayer (USA, 2023). Audition Date: Sunday April 12th, 2026 Audition Time: From 10AM Audition Location and Address: Chelmer Community Centre, 15 Queenscroft Street, Chelmer Audition Requirements: Cold reads from the script plus a prepared reading of a Shakespearean sonnet Audition Registration: Contact director for enquiries Performance Dates: 11 July – 2 August 2026 Performance Times: Friday and Saturday evenings, with matinees on some Saturday and Sunday afternoons Performance Location and Address: Chelmer Community Centre, 15 Queenscroft Street, Chelmer Warnings: Themes of mental health, grief, and dark humour Performer Age: 18+ Creative Team: Director - Rhyll Bucknell Production Website: Centenary Theatre Group - Drowning Ophelia Other Information: Opportunity available for a Stage Manager (experience welcome; training provided). Enquiries: enquiry@centenarytheatre.com.au or via Facebook Messenger. Please do not audition if you cannot commit to the performance dates. Available Roles/Character Breakdown: Ophelia - Straight out of Hamlet; childlike and purposeful; sings a cappella Jane - Female, 30–40; obsessive and emotionally on edge Adam - Jane’s elder brother; devastatingly likeable Edmund - Actor; equal parts charm and awkwardness Electronic voice & female nurse voice

Giselle – Brisbane Ballet Conservatorium Theatre, Brisbane Choreography:  Emrys Goldsworthy (original by Jean Coralli, Jules Perrot, Marius Petipa) Dramaturgy:  Tahlia Goldsworthy Music:  Adolphe Adam, Friedrich Burgmüller Set Design:  Paul Jones Costume Design:  Emrys Goldsworthy & Nethini Gomes Photography : Alisa Poturaeva   I love getting to experience a ballet I have never seen before. Thanks to my incredible seat (shoutout to Emrys!), I got an amazing view of everything in Brisbane Ballet's Giselle . Every reaction, every flicker of emotion, every slightly panicked moment in Act 2 stamina… all of it right there. And in a story built on love, lies, and a full emotional breakdown, that kind of proximity makes a huge difference. Picture this: a sunny village where Giselle, our delightful peasant girl with a love for dance, falls head over heels for Loys. He’s got the charm, the romance... basically the whole boyfriend starter pack. Unfortunately, he is also lying. Loys is actually Albrecht, a nobleman in disguise, and already involved with another woman. When the truth comes out, Giselle’s heartbreak sends her into madness and ultimately, death. In Act 2, she returns as a Wili, one of the ghostly spirits of jilted brides who died before their wedding day. These spirits haunt the forest, condemning men to dance until they drop. So when Albrecht finds Giselle’s grave… he becomes their next target.   Act 1 opens in a soft wash of cream, peach, and baby pink dresses, with fluttering skirts and a gentle, springtime feel. The set is minimal, just a simple house structure grounding the upstage and letting the dancers do the storytelling. There’s a lightness to everything here. Playful, airy, deceptively simple. The featured dancers in the cream-coloured dresses bring moments of real beauty, grace, and athleticism, and the corps move cleanly and uniformly throughout. I especially loved how often the solos, duos, and trios are performed directly to us . It creates a real sense of inclusion. We’re not just watching the village, we’re part of it. Rafaela Morel is exactly what you want Giselle to be. A perfect demure smile, a long swan neck, effortless grace. Dressed in sky blue, she stands out immediately, not just visually, but in presence. There’s an innocence to her that feels completely genuine. As the narrative shifts, so too does her performance. Her spiral into madness is genuinely mesmerising. Up close, the detail in Rafaela's anguish captures Giselle’s psychological disintegration. She pulls at her hair, disassociating as drifts in and out of reality, dancing as if someone is still there. Reaching, turning, responding to nothing. And the most striking part is her deliberate loss of refinement in her movement that disrupts the classical aesthetic. Her technique is still there, but the control slips enough to become dangerous. The moment that stayed with me is that unpredictability, the audience (and even the dancers holding their breath), unsure what she’ll do next. Then there are the men, and the messes they create. Ivan Tarakanov as Albrecht really leans into the charm, which makes the deception all the more frustrating to watch unfold. The early pas de deux has that unmistakable sense of seduction, and you can already tell this is not going to end well. Ivan’s face is almost as entertaining as his dancing, his reactions are constantly alive, giving you little moments to watch even when he’s not the focus.   Peter Harris as Hilarion goes all in emotionally, fully committing to that “I pine, I perish” energy of his unrequited love. By Act 2, he is absolutely not holding back, dancing himself into complete exhaustion. It’s relentless, physical, and just a bit brutal to watch. Matthew Maxwell is one to keep an eye on. Leading man energy, clean execution, and beautifully controlled stillness. Act 2 is a complete tonal shift. The backdrop drops into black, and a grave marked by a glowing neon cross cuts through the fog. The palette cools instantly into blues and shadow, with golden lighting from the wings adding depth. The costumes shift to white bridal silhouettes, and the world becomes something else entirely. The Wilis are ethereal, and they no longer perform to us. We don’t exist to them. The audience disappears, and we become observers rather than participants. Imogen Walters performs as Myrtha, taking clear command of Act 2. She leads the Wilis with authority, guiding Giselle into their world while maintaining an undercurrent of menace when confronting the men who cross their path. Her presence is poised and controlled, creating a compelling balance between beauty and threat. She did seem a little fatigued on this particular performance (I hope she’s okay), but the strength of her portrayal still came shining through. The choreography (Emrys Goldsworthy)  sits firmly in classical language, but with a strong sensitivity to musicality. It feels like it’s actually listening to the score rather than just sitting on top of it. You can see the attention to shifts in tempo and tone, and the phrasing has a natural breath to it. The choreography is demanding and unrelenting. Continuous jumps, constant traveling. Ivan’s entrechats just keep going, one after the other, like he was bouncing on a trampoline. I could only imagine how much his legs were burning!   Rafaela’s ghost Giselle is beautifully restrained. She circles Albrecht, dances toward him, but rarely looks directly at him, creating an intentional and quietly devastating emotional distance. Peter and Ivan fully commit to the “dance until death” fate, and it’s clear this production takes that concept seriously across the board. Lighting is beautiful, shifting from warm daylight tones in Act 1 to deep blues, gold, and fog in Act 2. Costumes support the storytelling well overall, though Bathilde’s red dress could benefit from a quick steam. If possible, real flowers would make a difference in those quieter moments where the plastic sound is noticeable. And if the grave structure is hollo, it would be lovely to see Giselle disappear through it on her exit, creating a more ethereal transition than the current bourrée into the wings.   By the end, it’s not the spectacle you remember. It’s the details. The breath between movements, the way Giselle holds or avoids one's gaze, and the sheer stamina of it all. It’s romantic. It’s tragic. And suddenly you’re emotionally invested in whether this man deserves forgiveness. For the record, I’m not convinced.

Amadeus – Beenleigh Theatre Group Written by Peter Shaffer Directed by Sean Wilson Assistant Director: Thomas Allan Stage Manager: Tianna Paget Set Design and Decor: Bradley Chapman and Michael Ware Lighting Design: CJ Avery Sound Design: Gabriel Burton and Thomas Allan "Music is easy. Marriage is hard." Considering the man saying it was Wolfgang Amadeus Mozart, perhaps that explains quite a lot. Peter Shaffer's Tony Award-winning play imagines the legendary rivalry between court composer Antonio Salieri and musical prodigy Wolfgang Amadeus Mozart. Or, more explicitly, it imagines what might happen when a hardworking man discovers that God apparently gave all the talent to the weird giggling man-child in the colourful wigs. Salieri stands before us and calmly confesses to murder, addressing the audience as “the ghosts of the distant future”, and just like that, we're in. This is Salieri's story. Or at least, his version of it. Alex Dundas-Taylor carries this show on his back as Salieri, and it's seriously impressive. This is a dense, detailed script that could easily lose an audience, but he never lets that happen. An exceptional storyteller, he delivers page after page with such clarity that you almost forget how much text he's carrying. His dry humour sneaks up on you too, providing some welcome relief whenever things threaten to become too heavy. And then Mozart arrives. Michael Ware throws himself into the role with complete abandon. Loud, excitable, egotistical and dressed in increasingly ridiculous wigs and costumes, “obscene child” feels like an entirely fair description by Salieri. His absurd little giggle becomes almost a character in itself, popping up whenever Mozart finds himself amusing, which is often. At times it begins to wear on you and you completely understand why Salieri is losing his mind over this boy. This Mozart has spent his entire life being told he's a genius by everyone, including the Pope. Of course he grows up into this ridiculous little drama queen. Ware's performance gives me a strange combination of Mad Matter and Emperor Peter III from the unhinged TV series The Great — chaotic, immature, larger than life, and impossible to ignore. But beneath all the chaos, there is real skill. Ware actually plays the piano onstage and, while it isn't concert-level perfection, it adds authenticity. As Mozart's life begins to unravel, he starts acting with his eyes as much as his voice, and the silliness gradually gives way to something more exhausted and fragile. That contrast between the two men drives everything. Salieri works tirelessly, does everything “right”, and then this kid appears tossing off symphonies and arias as though it's nothing. Of course Salieri spirals. Imagine competing with Mozart, a man who apparently hears fully formed music in his head and simply writes it down like a secretary taking dictation. “Composing is not hard when you have the right audience to please” lands with a particular sting in that context. Dundas-Taylor plays Salieri's descent from admiration to jealousy clearly. After all, deciding to wage war against both Mozart and God is not exactly a normal response to professional envy. With such a bizarre grudge, part of me kept expecting his acting to become even darker and more off the rails. Instead, Salieri had to mask his fury, maintaining the appearance of friendship while quietly destroying the man he both admires and resents. The ensemble hold the world together nicely. Everyone is highly articulate, slightly pompous and committed to the style. The Italians-versus-Germans rivalry provides plenty of amusement, while the use of multiple languages helps bring the setting to life. Lachlan Bretherton-Scobie and Holly Delchau bring some enjoyable mischief as the gossiping Venticelli, Bradley Chapman is flamboyant and funny as Emperor Joseph II, and Adam Goodall's dry delivery as Baron van Swieten earns several laughs. Hannah Martin as Constanze was a particular standout for me. Her playfully childish interactions with Ware make their marriage believable. She gets to play Constanze as sweet, dorky and supportive one moment, then petrified, furious or fiercely protective the next. As the only significant female character in a story dominated by men and their egos, Constanze often finds herself overlooked, not only by society but by her own husband. While Mozart chases inspiration, she is left trying to advance his career and do whatever is necessary to support them after seeing very little financial reward from his genius. Martin beautifully captures the frustration, love and loyalty of a woman who remains Mozart's wife and closest friend right to the end. Constanze's confrontation with Salieri is one of the strongest scenes in the show. She navigates the shifts from hope to humiliation, anger and disgust beautifully, and her response to Salieri's advances is especially memorable. Director Sean Wilson handles the shifts in time and perspective well. Flashbacks, asides and jumps through time are all handled clearly, and the use of recorded music helps illustrate Mozart's brilliance. Visually, the production is bare but striking with set design by Bradley Chapman and Michael Ware. Black and gold dominate the stage, with lines painted across the floor and ropes stretching up to the ceiling like empty musical staves waiting to be filled. Add a grand piano, powdered wigs and all the formal eighteenth-century language, and you're firmly planted in Mozart's world. The length of the play is definitely felt, with Act Two in particular beginning to stretch. But after spending several hours in eighteenth-century Vienna, it left me reflecting on just how different their world was. Their entertainment options were basically music, theatre, literature or drinking. And apparently a woman could damage her reputation simply by showing her leg. Yet jealousy, artistic insecurity and petty rivalries haven't changed much in the last 250 years. Imagine telling Mozart that The Marriage of Figaro was too showy. By the end I found myself thinking less about murder and more about comparison. Salieri spends the entire play destroying himself over the fact that someone else was better, and perhaps that's the real tragedy. Tortured musicians, it seems, have always existed.

Title: Daffodil Presented By: Ipswich Little Theatre Genre: Psychological Drama Synopsis: According to John, Cecilia is unwell. She needs rest, she needs air, she needs to be less of – herself. Plagued with what is perceived to be hysterics and “temporary nervous depression”, they retreat to a summer house on the New England coast in hopes of allowing her to find the peace needed to get better (be a better wife, mother, citizen). What she finds instead is a small room with deceitfully foul yellow wallpaper and a story told far too many times. Audition Date: Monday April 20th, 2026 Audition Time: from 7:30PM Audition Location and Address: Ipswich Little Theatre, Burley Griffin Drive, Ipswich QLD 4305 Audition Requirements: Auditionees will be asked to familiarise themselves with three sides from the script. Full memorisation is not required, but performers should have a strong understanding of the text and its emotional context. Auditions will involve reading from the provided sides, both individually and with other performers. Chemistry reads will also be conducted to explore relationships between characters. Audition Registration: Please complete the audition form HERE Audition Pack: Audition sides available HERE Performance Dates: Preview (ILT) - July 2026 Beenleigh - July 31st – August 2nd 2026 Ipswich - August 7th - 9th, 2026 Toowoomba - August 22nd - 23rd, 2026 KSP - August 28th - 30th, 2026 Nanango - September 4th - 6th, 2026 Performance Times: To be confirmed closer to festival dates Performance Location: Multiple venues as part of the South East QLD Drama Festival Circuit, including Ipswich Little Theatre. Warnings: Depictions of mental illness and psychiatric malpractice, grief, suggestion of domestic abuse, brief violence Performer Age: 18+ Creative Team: Director - Kate Hoepner Assistant Director - Brittany Evans Production Website: Ipswich Little Theatre - Daffodil Other information: The play is set in the late 1800s and requires performers to use a stage English (RP) accent. Accuracy is not expected at audition stage, but a willingness to develop the accent is essential. This is an emotionally intense and psychologically heavy work exploring themes of isolation, control, and mental health. Performers should approach the process with care, maturity, and emotional depth. For further information or full scripts, contact the director at kate.hoepner@gmail.com. Available Roles/Character Breakdown: Cecilia – A woman experiencing psychological distress, intelligent and introspective, central to the narrative. Requires strong emotional range and stamina. John – Cecilia’s husband, a physician whose authoritative and controlling nature contrasts with his belief that he is acting in her best interest. Narrator – A guiding presence within the story, offering perspective and shaping the audience’s understanding of Cecilia’s experience.

Title: She Loves Me Presented By: Phoenix Ensemble Genre: Musical Theatre Synopsis: The sweetest love story they never saw coming. Amalia Balash and Georg Nowack are constantly at odds by day, trading sharp words across the shop counter of Maraczek’s. Yet after hours, each pours their heart into anonymous letters to a cherished pen pal, never suspecting they’ve already met. As romance blossoms on paper and misunderstandings grow in person, the two must navigate pride, vulnerability, and the risk of truly being seen. From the beloved songwriting team of Jerry Bock and Sheldon Harnick, She Loves Me is a witty, warm, and elegant musical comedy based on the play Parfumerie. With soaring songs, heartfelt humour, and old-world charm, this intimate gem invites audiences to believe in the magic of connection, and the possibility that love may be closer than we think. Audition Dates: April 17th & 18th (Callbacks on April 19th if required) Audition Time: Friday from 6PM Saturday from 10AM Sunday from 7PM (Invitation only if required) Audition Location and Address: Beenleigh Show Grounds, James St, Beenleigh QLD 4207 Audition Self-Tape Due: If you are unable to attend our auditions in person, video submissions will be accepted. Please email auditions@phoenixensemble.com.au for information regarding video submission requirements. Audition Requirements: All auditionees are required to complete an individual audition, where the creative team will see all singing, acting and dancing components of your audition. Music - Please prepare two contrasting musical theatre songs in the style of the show. Each selection should be approximately one minute in length. We recommend that at least one piece be in a legit style, however, we are not committed to a purely classical vocal approach for this production. To keep the audition process open and inclusive of all voice types, we encourage you to audition whether or not you have formal classical training. When choosing your material, please consider contrast not only musically (such as range, genre, and vocal style) but also emotionally and dramatically. For example, you might pair a ballad with an up-tempo number, or a comedic piece with something more heartfelt or dramatic. Acting - Please prepare and memorise one monologue from the document linked HERE. Use your own accent but be prepared to deliver one with a Modern RP/Standard Southern British accent as well. Be ‘familiar’ with the other monologues as you may be asked to cold read one of them. Dance - The dance component of your audition will also be presented in the individual auditions. Choreography video will be made available on the 3rd of April HERE. Audition Registration: Please visit www.phoenixensemble.com.au and click the AUDITION tab at the top. This will take you to the interface to book your audition, either for the group call or an individual audition. If you have any issues please email: auditions@phoenixensemble.com.au and we will gladly help you through the process. Audition Pack: She Loves Me Audition Pack Performance Dates: August 7th - 29th, 2026 Performance Times: Friday evenings Saturday matinee & evenings Performance Location: Phoneix Ensemble, Beenleigh Show Grounds, James St, Beenleigh QLD Rehearsal Dates: Monday, Wednesday & Sunday commencing May 3rd. Rehearsal Times: Monday & Wednesday - 7AM - 10PM Sunday - 1PM - 6PM Rehearsal Location: Phoneix Ensemble, Beenleigh Show Grounds, James St, Beenleigh QLD Performer Age: 18+ Creative Team: Director - Sherryl-Lee Secomb Musical Director - Emma Erdis Choreographer - Jamie O'Donoghue Production Website: Phoenix Ensemble - She Loves Me Other Information: Your commitment to the rehearsal process is a commitment to everyone involved in the production and is imperative for its success. We expect all cast, crew, and creative members to: Attend all call times and rehearsals with ample time. Rehearsals will start promptly; arrive a few minutes early to be ready. If you are running late and the production team is not already aware, please contact us using the designated contact provided at the start of rehearsals. Keep up to date with the rehearsal schedule. Your presence at called rehearsals shows respect for your fellow cast and production members. Provide all known scheduling conflicts at the time of auditioning. Accepting a role indicates your availability for all rehearsal days and times provided, except for previously declared conflicts. Committing to another role or production after accepting ours may breach this commitment and affect your continued involvement. Notify the production team promptly of any last-minute absences due to emergencies or illness. This allows the team to adjust the schedule. Uncommunicated absences are not acceptable and will be addressed directly. Come to rehearsals with required materials, in appropriate clothing and footwear, and with a positive attitude. A professional, focused, and collaborative rehearsal environment is key to the success of the production. Support and encourage those around you to help create a positive and enjoyable experience for everyone. Upon accepting a role, you will be required to become a financial member of Phoenix Ensemble on or before the first rehearsal. All members must hold or be willing to obtain a valid Blue Card. Further information will be provided upon acceptance. Phoenix Ensemble is dedicated to providing a positive, valuable, and nurturing experience for everyone. This commitment is supported by these guidelines, our Respectful Workplace Policy, and our Code of Conduct. Available Roles/Character Breakdown: Amalia Balish - The eager new employee at Maraczek's Parfumerie. Bright, charming, and energetic but can be exasperating. Intelligent, loves literature and art. Kind and a romantic at heart, searching for a man who shares her interests. Can be competitive, which may blind her in romantic relationships. Presenting Gender: Female | Playing Age: 25–35 | Vocal Range: Soprano C4–B5 | Dance Requirements: Light Mover Georg Nowack (pronounced Novach) - Employee at Maraczek's Parfumerie. Assertive, kind, intelligent, and a hopeless romantic who enjoys literature and art. Seeks a kind woman to share his interests. His interactions with Amalia exasperate him. Presenting Gender: Male | Playing Age: 30–40 | Vocal Range: Baritone B2–F4 | Dance Requirements: Light Mover Ilona Ritter - Employee at Maraczek's Parfumerie. Experienced in life and love, world-weary, and tired of relationships with men she knows are wrong for her. Ready for something more in love. Intelligent, sure of her sexuality, strong woman seeking change. Presenting Gender: Female | Playing Age: 30–50 | Vocal Range: Mezzo-Soprano F#3–E5 | Dance Requirements: Moderate–Strong Dancer Steven Kodaly (pronounced Kodie) - Employee at Maraczek's Parfumerie. Stylish but shallow, totally self-absorbed. Annoyingly likeable, which makes him attractive to women—and he knows it. Presenting Gender: Male | Playing Age: 30–50 | Vocal Range: High Baritone/Tenor B2–A4 | Dance Requirements: Moderate–Strong Dancer Mr. Maraczek (pronounced Maracheck) - Owner of Maraczek's Parfumerie. Has a commanding presence, dedicated to his business. Quick-tempered but kind and fair. Presenting Gender: Male | Playing Age: 50+ | Vocal Range: Baritone B2–C4 | Dance Requirements: Basic Mover Ladislav Sipos (pronounced Seeposs) - Employee at Maraczek's Parfumerie. Lovable family man, always afraid of losing his job. Very agreeable to everyone, believes himself to be insignificant in the world. Totally likeable; the sort of person you want to comfort and encourage. Presenting Gender: Male | Playing Age: 40+ | Vocal Range: Baritone A2–E4 | Dance Requirements: Basic Mover Arpad Laszlo - Delivery boy at Maraczek's Parfumerie. A clear joy for life with infectious exuberance and commitment to his job. Ambitious and adorable. Presenting Gender: Male | Playing Age: 18–25 | Vocal Range: B♭2–E4 | Dance Requirements: Light–Moderate Mover Ensemble (Playing Multiple Roles) - A small group of male and female performers arranged by the score’s vocal requirements. All ensemble members must sing. Presenting Genders: Mixed | Playing Ages: Mixed | Vocal Ranges: Mixed | Dance Requirements: Moderate–Strong Dancers Ensemble Roles Include: Head Waiter – eccentric and over-zealous restaurant manager Mr. Keller – private investigator Customers of Maraczek’s Parfumerie Restaurant Patrons Christmas Carolers

Title: Pygmalion Presented By: Introspect Theatre Company Genre: Drama / Modern Adaptation Synopsis: A modern reworking of Shaw’s classic tale, the phoneticist Henry Higgins is the Pygmalion figure who believes he can transform Eliza Doolittle, a down-on-her-luck flower girl, into a duchess at ease in polite society. The one thing he overlooks is that his "creation" has a mind of her own. Audition Date: Saturday April 18th, 2026 Audition Time: 10AM - 4PM Audition Location and Address: QUT Kelvin Grove Campus Audition Requirements: Prepare a monologue that best showcases you as a performer (plays, films, TV, etc.). Creative interpretations are welcome; the director may redirect in the room. Wear comfortable clothing suitable for movement. Audition Registration: Register to audition via the Pygmalion Audition Form Audition Pack: Pygmalion Audition Pack Performance Dates: July 4th - 5th, 2026 Performance Times: Matinee and evening on Saturday, evening on Sunday Performance Location: QUT Kelvin Grove Campus Rehearsal Dates: Tuesdays, Thursdays & Sundays from May 3rd onwards Rehearsal Times: Tuesdays & Thursdays 6PM - 9PM Sundays 10AM – 4PM Rehearsal Location: QUT Kelvin Grove Campus Performer Age: No restrictions; roles open to any age where appropriate Creative Team: Director - Jack Winrow Producer - Szonja Meszaros Stage Manager - Kat Coomber Production Website: Introspect Theatre Co - Pygmalion Other Information: Cast members must become a Paying Member ($60) for t-shirts and production costs. Active promotion via social media expected (at least once weekly). Scripts must be learned by 4 June. Diverse and inclusive casting; performers of all gender expressions, cultural backgrounds, ages, and abilities encouraged to audition. Available Roles / Character Breakdown: Eliza Doolittle - Down-on-her-luck flower girl with newfound opportunities; independent-minded. Henry Higgins - Phoneticist; confident and arrogant; takes on the challenge of transforming Eliza. Colonel Pickering - Higgins’ friend; kind and supportive; cares for Eliza. Mrs Higgins - Henry’s mother; socially prominent; influences Eliza’s training. Freddy - Son of Mrs Eynsford-Hill; infatuated with Eliza. Clara - Daughter of Mrs Eynsford-Hill; socially ambitious; interested in Higgins. Mrs Eynsford-Hill - Mother of Clara and Freddy; evaluates Eliza’s social position. Doolittle - Eliza’s father; opportunistic; reacts to money and experiences from Higgins. Mrs Pearce - Housekeeper; motherly role to Eliza; assists Higgins and Pickering.